Marinot began his career as a Fauvist painter, becoming fascinated with glassmaking after visiting the Viard glass factory in 1911. At first he experimented by enameling clear blanks supplied by the factory. In 1912 he apprenticed himself to the factory's gaffers and soon was blowing his own forms and engraving or acid-etching geometric and abstract patterns onto their surfaces. A master of integral decoration, he introduced gold flecks, used different colors of opaque glass in tandem, and even exploited the random, trapped air bubbles considered undesirable by other glassworkers. Equating glasswork with the art of painting, he signed each of his bottles, flasks, and jars. Marinot's glass won universal acclaim at the great 1925 Exposition des Arts Décoratifs et Industriels Modernes in Paris.
Inscription: Signed (underside of foot, scratched): Marinot
[Galerie Sonnabend, Paris, until 1970; sold to MMA]
Museum of Fine Arts, Boston. "French Art Glass, 1880–1930: Gallé, Lalique, Marinot," April 1–May 18, 1975, unnumbered cat.
New York. The Metropolitan Museum of Art. "Masterpieces of Modern Design: Selections from the Collection," May 30–October 5, 2008, no catalogue.
New York. The Metropolitan Museum of Art. "Masterpieces of French Art Deco," August 4, 2009–January 23, 2011, no catalogue.
Decorative Art, 1927: "The Studio" Yearbook (1927), p. 137.
Léon Rosenthal. La verrerie française depuis cinquante ans. Paris and Brussels, 1927, pl. XXV, B.
Penelope Hunter in "Twentieth Century Art." Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 228.
Penelope Hunter-Stiebel. "The Decorative Arts of the Twentieth Century." Metropolitan Museum of Art Bulletin 37 (Winter 1979–1980), pp. 28–29.
Jared Goss. French Art Deco. New York, 2014, pp. 152–53, 259, no. 41c, ill. (color, overall and detail).